Description
„Ical” developed over a period of almost one year which is quite unusual for me. Although I had a very clear idea of the work from the beginning, there had been some internal obstacles that continuously impeded the continuation of the preparatory and even the compositional process. However, I do not see it as a problem; rather I believe that the longer time span and the continuous questioning of the piece’s substance allowed me to “neutralize” some too spontaneous writings.
As usual, I do not use a text for the singers but phonetic elements that allow me better ton connect the vocals with the instruments. As I already have mentioned various times, my instrumental writing is quite idiomatic. This is also obvious in this piece if one refers to strings, winds, brass and percussion structures. Seen from that point of view, I feel the vocals somewhat in between. On the one hand they relate closely to the main string writing (textural) but sometimes also co-relate to the percussion section.
The piece exists of seven parts that are based on a peculiar dramaturgy. The hidden unifying element throughout all those sections are two symbolic main chords that appear in various circumstances almost like a motto of the whole composition. They define the major structural pillars and the major sound quality. Second, it is a piece about melodies. There are four main melodies that primarily appear in the vocals (often combined with instruments) but later are also transferred and transformed into the instrumental realm. These melodies appear with always changing character and therefore enable a colorful journey through some imaginary worlds of sound. The vocal parts do not use a text but only phonetic material based on German language. In many cases there is an intricate unison singing with some instruments which needs special care and probably various dynamic adjustments. Harmonic and textural passages (though precisely notated) are generally meant with a special character, similar to the string section starting in bar 111.
If temporal adjustments are needed (basically only slower tempos) the adjusted tempo shall be kept for the whole formal section.
Dieter Mack
